The Prince of Denmark paid a stirring visit to Auckland on Saturday night. Oozing European cool, Anders Trentemøller - indie/electronic music composer, producer and multi-instrumentalist from Copenhagen - played to a packed and enthusiastic house at the Powerstation with his five-piece band.
Trentemøller himself appears laidback. Casually dressed in a short-sleeved shirt, he ambles on stage in the darkened haze to take his place front and centre amid multiple keyboards/synths.
Trentemøller Photo: Jana Te Nahu Owen / RNZ
The band - guitarist Jeppe Brix (standing in for Brian Batz), Icelandic vocalist Disa, bass player Jens Hein (standing in for Jacob Haubjerg) and incredible drummer Silas Tinglaf - only flew in the same day, but they show zero signs of jetlag and put on a spectacular, memorable show. (Social media shows them enjoying a pre-show feast at Depot, after asking for eating out tips from followers.)
The stage set is simple, back-lit, black and white. There are strobes aplenty, used to full effect from the get-go, but no theatrics or even background visuals. Only lights. Usually monochrome. Sparse and simple - all the colours come from the sonic kaleidoscope that swirls and surrounds us. Chromesthesia anyone?
The band is silhouetted much of the time and Trentemøller himself barely speaks all night. But he has time for smiles, nods and waves to the amped crowd through the show, revving up the punters later on, urging them to keep pace with the unfolding magnificence.
Trentemoller performing live at The Powerstation 2023 Photo: Jana Te Nahu Owen
"Veil of White' kicks things off, opening track of latest album 'Memoria'. It's a slow-burner, a melancholic shoegaze synthy jam evoking the Cure and the Cocteau Twins with Disa's ethereal vocals.
'No More Kissing In The Rain' follows. Mazzy Star on steroids. Then 'Darklands, 'Glow' and 'In The Gloaming'. Many instrumentals, mesmerising, pulsating, almost hymnal, building to a crescendo. Trentemøller guiding, always leading from his synths front and centre.
The crowd is pumped. Chillwave. Darkwave. Industrial beats. It's almost too much to take in. Spaghetti Western guitar vibes, then syncopated synths start up, as the layers begin to build. Cymbals crash. Drums thud. At one point the guitarist and singer take on percussion duties, shaking maracas.
Trentemøller is armed with a tambourine. It becomes rave-like. But then you hear Joy Division in amongst it. BBC Radiophonic Workshop experimental sounds from the 60s. Lush, orchestral soundscapes, duelling drums and synths at another point. Curve. Orchestral Manoeuvres In the Dark. Cacophonous space oddities. Scandanavian dream pop.
Trentemøller wears his heart, and his influences, on his sleeve. Shamelessly, lovingly resurrecting '80s and '90s electronic and synth, but always reimagining.
Trentemøller played to adoring fans at the Powerstation 2023 Photo: Jana Te Nahu Owen
The band works as one. It is a masterful performance. Cinematic. Intense. A darkwave rave. Towards the end, it feels like liftoff. Massive beats. My notes say 'can the drummer play any faster?' A juggernaut. A housequake. I swear the floor underfoot was literally moving during the apocalyptic last number. Never mind Carlsberg, Trentemøller is Denmark's finest export.
Rest of setlist: 'When The Sun', 'Dead or Alive'. 'Like A Daydream'. 'One Last Kiss'.' Cops On Our Tail.' 'Take Me'. 'Miss You'. 'Silver Surfer Ghost Rider Go!! '
Earlier in the evening, Auckland's Speech Act Theory were the perfect support act.
Speech Act Theory are the indie alt-electronica-trip hop project of producer/keyboardist Pete Hickman. Originally a studio project with the aim of fusing electronica and live instruments, they're now an accomplished, sophisticated and sometimes stunning five-piece live band with the chops to rock hard and always impress, with a fantastic vocalist out front.
Local band 'Speech Act Theory' support act for Trentemøller at the Powerstation 2023 Photo: Samantha Davies
I saw this band play Whammy Bar during pandemic times when we had numbers restricted and social distancing, as well as valiantly playing the under-attended opening slot at one of Auckland's Music In Parks free shows last summer. Each time they embraced the opportunity, playing their hearts out in front of the smallest crowds. They're professional, hard-working and bloody good, thoroughly deserving the big stage and bigger and appreciative audience they got opening for Trentemøller.
The live band is Pete Hickman on keys, synths, programming and backing vocals, drummer Ben Bradford, guitarist Jamie Crerar, bassist Michelle Anderton, and singer Brodie McDonald. Their opening song, debut single 'Holding Out', has grunty bass, beautiful melodies on the keys/synth, fantastic jazzy drums chugging along energetically, chiming guitar, and Brodie's captivating vocals.
'Next Time' opens seductively with sitar-like guitar, then Brodie's almost spoken-word vocals as the bass and drums build the groove, escalating slow and sexy into a wall of sound. The band mesh together beautifully on this one. Eastern vibes again mid-song with a short but sweet and jangly guitar solo. Then the comedown, the song is over as quietly as it began.
'Straight Lines' trips along from the start. Clean crisp drumming, light on its feet. Again, beautiful melodies and songwriting. Pete on backing vocals. Soft, sweet, swirling, compelling, heavenly, uplifting. Echoes of Talk Talk. And always, that grunty bass holding it down, driving along in perfect tandem with Ben's drums.
They are a workmanlike band and I mean that in the best possible way. There is no posturing. But they captivate and engage every song in this sweet, short set. They know who we're here to see. But they've made an impression. A good one.
Pete Hickman of 'Speech Act Theory' Photo: Samantha Davies
Pete Hickman wanted to create an electronica rock band that paid homage to his likes and influences - groups like Zero 7, Massive Attack, Boards of Canada, Four Tet, Death in Vegas, UNKLE. Mission accomplished.
Covid times were no time to launch a new project, try to get a band on the road. No matter. They forged ahead anyway and it's (hopefully) paying off.
Do yerself a favour. See Speech Act Theory next time they play a gig in your town. You deserve it. They do too.
